1/22/2024 0 Comments Static harmony definition quizlet![]() ![]() A diminished seventh chord meanwhile, can be respelled in multiple other ways to form a diminished seventh chord in a key a minor third (m3 as root), tritone (d5 as root) or major sixth (d7 as root) away. Any dominant seventh or German sixth can be reinterpreted as the other by respelling the m7 or A6 chord tone (respectively) in order to modulate to a key a half-step away (descending or ascending) if the fifth-from-root chord tone of a German sixth is omitted, the result is an Italian sixth. There are two main types of enharmonic modulations: dominant seventh/ augmented sixth, and (fully) diminished seventh. 804, I, mm.144-49, using vii o 7: G ♯ o 7 ≡ D o 7 (≡ B o 7 ≡ F o 7) Play ⓘĪn enharmonic modulation takes place when a chord is treated as if it were spelled enharmonically as a functional chord in the destination key, and then proceeds in the destination key. Play ⓘ Modulation from A minor to E ♭ minor in Schubert's Op.29, D. 17–24, using the German sixth, in the new key, that is enharmonic to the dominant seventh in the old key. Where an altered chord is used as a pivot chord in either the old or new key (or both), this would be referred to as altered common chord modulation, in order to distinguish the chromaticism that would be introduced from the otherwise diatonic method.Įnharmonic modulation Modulation from D major to D ♭ major in Schubert's Op. In analysis of a piece that uses this style of modulation, the common chord is labeled with its function in both the original and the destination keys, as it can be heard either way. The most common pivot chords are the predominant chords (ii and IV) in the new key. Bach-style chorale) are also not likely to be chosen as the pivot chord. Therefore, chords that are not generally found in the style of the piece (for example, major VII chords in a J. The I chord in G major-a G major chord-is also the IV chord in D major, so I in G major and IV in D major are aligned on the chart.Īny chord with the same root note and chord quality (major, minor, diminished) can be used as the pivot chord. This can be easily determined by a chart similar to the one below, which compares triad qualities. 284, III Play ⓘĬommon-chord modulation (also known as diatonic-pivot-chord modulation) moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share: "Most modulations are made smoother by using one or more chords that are common to both keys." For example, G major and D major have four triad chords in common: G major, B minor, D major and E minor. 10, Mazurka Play ⓘ Common-chord modulation in the opening of Mozart's Sonata in D Major, K. Play ⓘ Common-chord modulation in Tchaikovsky's Album pour enfants (1887), Op. Types Common-chord modulation Common-chord modulation in the opening of Chopin's Prelude in C minor, Op. ![]() For example, in a modulation to the dominant, ii/V–V/V–V could be a pivot chord, modulating dominant, and quasi-tonic. The pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. ![]() The modulating dominant is the dominant of the quasi-tonic. The quasi-tonic is the tonic of the new key established by the modulation was semi. Metric and rhythmic: quasi-tonic and modulating dominant on metrically accented beats, prominent pivot chord.Melodic: recognizable segment of the scale of the quasi-tonic or strategically placed leading-tone.Harmonic: quasi- tonic, modulating dominant, pivot chord.Charles-Henri Blainville (1767) Requirements
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